I tend to prefer yellow markers because when you look at them in the green channel they pretty much disappear, and when you look at them in the red channel there's lots of contrast for tracking.

Milan, you have to make sure that your footage is feeding into the IBK_Colour node, and you've set the node to either Blue or Green depending on the color of your screen. And then the IBK_Colour node feeds into the C pipe on the IBK_Gizmo, while the footage feeds into the BG pipe. If you tweet me a screencap of your script (@pdenigris) I can troubleshoot further!

There's a tutorial about dealing with edge contamination that I think would cover this for you.

Agreed, Neat Video is great. For tutorials I try not to include to many plugins and such that are outside the base package because that limits the tutorial's usefulness for people who don't have access to the plugins. And lost luminance wasn't a factor here because of the dark BG. I thought I mentioned that in the tutorial but maybe I missed it.

I might of missed that myself, yeah I appreciate others might not own the plugin, let alone own a legit copy of nuke. I tend to bring back luminance no matter what though in my comps, we always try to match the plate in a none destructive way, keeps the supes happy plus at work we get other artists to tech check shots all the time and they're pretty anal about stuff when it comes to changes in detail, lost detail etc.

Right on. I appreciate the constructive dialogue, and I love hearing how other studios do things.

@@rob4eva How would you bring back the luminance after the despilling? Or just a good starting point to look up a reference, if its too much to comment on? Appreciate it! Trying to up my Nuke game.

@@BrianDyak after despil, merge (from) the plate which should give you just the green. , desaturate the green to black and white using expression node with max(r,g,b) in the r, g and b, using saturation node set to 0 also works but i prefer using expression, the math does it more accurately.. then plus that back o to the despilled image. Your basically converting the green despill into black and white then plusing it back onto the plate. The green is still removed but you have put the luminance from the green back onto the plate. Then nothing is lost except the colour. As for those edges.. try multipling your background onto the desaturated green.

Yes, Nuke is pretty expensive, you're correct there. And yes, other software can certainly do some of the same things that Nuke can. Adobe After Effects for example is good for someone just getting started with compositing. (I'm not familiar with Syntheyes.) Where Nuke excels is in speed. I can do the same tasks faster and better in Nuke than I can in AE. (I use both.) Faster in terms of rendering, but also faster in terms of workflow. Nuke's node-based architecture allows for faster working, easier sharing of nodes and techniques among artists, and easier duplicating results for numerous similar shots in a given project. For blending live action and CG renders, Nuke's handling of AOVs (aka Render Passes) is unparalleled.

Syntheyes is "THE" most powerful tracking software. [period] but you can't composite with it. After effects is the cheaper option and honestly if you're afreelancer and not planning to composite for big studios, After Effects is enough. but there are some situations that after effects just leaves you with a very messy project file that no one can figure out what's going on.

Not sure I understand

Well yes ideally you get a clean plate from production but that's not always possible.